Proof of Stake is a multivalent meditation on loss, grief, and social constructs. Grounded in the death of the poet’s daughter, Vivian, this long elegy ruminates on a wide range of subjects, from the effects and winding paths of disruptive technologies, such as paper and cryptocurrency, to critiques and observations of art movements, diasporas, social unrest, and the history of the Philippines.
China’s increasingly dominant position in global economic and political affairs has so far not been matched by similar progress in international use of either the Chinese currency or language. This can at times seem curious to some of those charting China’s rise. Jeffrey Gil of Adelaide’s Flinders University offers The Rise of Chinese as a Global Language as an explanation of how at least the latter might finally come about.
Many Chinese poets, ancient or modern, seem to Western readers sometimes obsessed with landscapes, and Yang Jian (born 1967) is no exception.
Injustice produces indignation at those responsible for it. Shrabani Basu’s The Mystery of the Parsee Lawyer is filled with indignation as it tells the story of the investigation, prosecution, conviction, and partial pardon of George Edalji, a British lawyer of Indian descent who served three years in prison for crimes (mutilating animals and sending threatening letters) he did not commit. It is a tale of racial prejudice, an inept judge, a biased chief of police, and an obstinate criminal justice bureaucracy. But it is also the tale of men who saw injustice and worked persistently to right a terrible wrong. Included among those men was the creator of the fictional master detective Sherlock Holmes, Sir Arthur Conan Doyle.
Anti-miscegenation laws—laws prohibiting interracial marriage and relationships—plagued the United States and were a part of the American fabric for centuries, some lasting until the 1960s. Tom Lin frames his debut novel, The Thousand Crimes of Ming Tsu, around this issue as the eponymous protagonist of the story was married to a white woman until her father and the local law enforcement put an end to it. Ming Tsu is now out for revenge. He’s also an assassin by trade.
Musica Viva’s new production of Norma—Vincenzo Bellini at his bel canto best—is perhaps an omen: it is just one letter shy of “normal”.
When 16-year-old Karuna becomes pregnant, Karuna’s mother decides to lock her daughter inside their fourteenth-story public housing flat as a means to keep her safe. Karuna, who has spent years trying to escape her mother, now finds herself with her mother as her only company.
They gaze at you, the fashionably-attired youths of Esfahan, from a distance of 300 years. Swaying like cypress trees, their tresses floating in the air like clouds, their faces surrounded by peach fuzz, they smile like the Gioconda and with more mystery. Who are these young men and what do they say to the viewers? After the lucidity of the great 16th-century Persian and Mughal painters like Behzad and Sultan Mohammad, who painted kingly battles and hunts, the 17th century brings us the works of Reza Abbasi and Mohammad Qasem, and their ambivalent but sexually-charged portraits of young men and occasionally young women.
It can be easy to forget amongst the glistening skyscrapers, bustling streets and neon lights, but the Pearl River Delta used to be a haven for banditry and piracy. As the authority of Imperial China waned, pirate fleets based out of Guangdong Province roamed the waves, raiding traders and taking captives.
Choi Eunyong’s best-selling Shoko’s Smile has earned her comparisons to novelists such as Sally Rooney and Marilynne Robinson for the collection’s carefully crafted portraits of women’s relationships and intimacies formed and dissolved over time.
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